Long, but interesting article about African music
rufus
Mondiya Mama from Kenya on this site:
http://www.biols.susx.ac.uk/Home/Julian_Thorpe/sax15.htm
"Some people, especially in the West (Europe and North America), and
perhaps some of the
musicians themselves, would like to imagine that Afican music has made
significant advances since
the emigration in the late 1970's to Paris, Brussels, London,
Amsterdam and various other U.S
cities. There is no doubt the musicians are financially better off,
earning many times what they would
in their home countries. They are also heard more on radio stations
worldwide and live
performances to mainly non-African audiences have increased.
Certainly, people like Yousouf Ndour and Papa Wemba have become well
known since they
started the so called `fusion' of African with Western beats, whatever
that means. However, it is
also obvious that these `fused' numbers are only `hits' in the
Western world and perhaps among the
few elitist (read `self- brain washed') youths in some African cities.
Ndour and Nene Cherry's 'Seven
Seconds Away' never sold as much in Africa as it did in the West. Papa
Wemba's and Olomide's
'Imagination' is also not a best seller in Africa. As a matter of
fact, a rapidly growing number of
Africans in East & Central Africa are becoming disechanted. Many
bands in this part of the world
often find themselves being forced by audience demand to play oldies
performed by long-defunct
bands of the 1950-1980's. This is a sign that the apparent financial
and publicity success of the
European and American-based African performers is not reflected as
followings.
In Africa, many Africans view this as retardation in artistic
creativity. It is no longer possible to
distinguish between most of the songs from the Western capital-based
musicians since only the
composers vary. The performers are largely the same. So Kanda Bongo
Man, Aurlus Mabele and
many other `so-called' stars hire the same people - Diblo Dibala,
Lokassa ya Mbongo, Dally
Kimoko, Nene Tchacou, Miguel Yamba etc. These performers therefore
all sound and look similar.
Another criticism apart from this lack of individual identity
(probably plagiarism, exemplified in the
animations - Madiaba, Ndombolo etc) is the lack of variety within the
numbers themselves which
are often monotonous and short. There is too much emphasis on the
solo guitar and chanting
(animations). These contrasts with the 1970's when all instruments and
vocals were given
prominence and/or acknowledged. Some journalists in Britain have
dubbed Diblo Dibala the `fastest'
guitarist in the West but they are, no doubt, unaware that even in
Europe, there are better African
solo guitarists like Dally Kimoko and Kinzunga Ricos. In the days of
Zaire of the 1960's to 1970's,
annual competitions for outstanding musical performers never turned up
Diblo Dibala. Instead,
largely forgotten names like the Zaiko Langa Langa lead guitarist in
the hit `Zaiko Wawawa' and
Fataki Lokasssa, among others, were outstanding. Like everywhere else
in the present world,
Western journalists with very little experience in African issues
suddenly become `experts' and
distort facts which are then carried far by their extensive media
connections and outlets.
Closely tied with the increasing lack of artistic imagination of East
and Central African musicians in
the West, is the offensive and degrading dancing style promoted
largely by the Zairoise (a better
sounding and more distinctive name than 'Congolese'). Almost-naked
women and sexually-explicit
dance styles are probably extensions of the strip-tease acts in
Western night clubs. The late Luambo
Luanzo Makiadi, who first used women dancers in his band long before
moving to Brussels, certainly
did not foresee their misuse by the present genre. Even Tabuley's
dancers kept their clothes on.
Viva La musica, Quarter Latin and Wenge Musica could also be grouped
in the `lost' category' of
African musicians under discussion since they are fairly young bands
and tend to suffer from the
monotony of the Paris-Brussels-Amsterdam-London sickness.
Papa Wemba is not even an outstanding vocalist to be compared with
Pepe Kalle, Nyboma, Dindo
Yogo, Mopero or Jojo Ikomo,yet the Western world keeps glorifying him
as the best from Africa.
It must be emphasized that, although most African music is largely for
dancing with vigour, it is
certainly not sexually-oriented as exhibited by the Zairean woman
dancers of the present day.
Those who would like to compare the past and present to understand
where Africa has lost musical
talent, are advised to try and listen to recordings of the following
artists at their peak. Sadly, most of
them are too poor, have passed away or have been forgotten.
1. Orch Lipua Lipua - Prof Vata Mombassa, Nyboma Muan'dido (presently
in Paris with 4-stars),
Kizunga Ricos, Athos Mongoley, Mbubie Malanda - one of the best
composers and vocalists),
Benazoe Mbuta, Tshimanga Assosa (in Tanzania with Marquis du Zaire),
Mule Mulembu Tshibao,
Nsayi Nono Nkuka, Tedia Wunu Mbakidi, Toninoe, Lusuama Aspro, Nzaya
Nzayadio, Mwalupu,
Deni Wade, Ken Kiesse, Pepe Kalle (broke off to form Empire Bakuba),
Mbanza Velela, Makaya
etc
2. Orch Les Kamale - Formed by Nyboma from Lipua Lipua. Included
Mulembu Tshibao,
Tshimanga Assosa, Kinzunga Ricos, Mbuta Benazo and, later after the
break away of Orch. Fuka
Fuka, Bompongo Assana.
3. Bella Bella - the late Socki Vangu and his late brother Soki
Dianzenza; also included Shaba
Kahamba. Off shoots saw the emergence of Kanda Mbongo Man.
4. Orch Shama Shama de Mopero - Featured Mopero, Mambo Ley, Jeampy and
Dona Mobeti.
The Keyan-based vocalist Prince Koko Zigo Mike is reported to have
once been part of Shama
Shama in Uganda towards the end of Idi Amin's reign and before he was
invited to Kenya by Bwami
Walumona and Kalombo Mwanza when they formed Orch Viva Makale Almasi.
5. Empire Bakuba - featuring Pepe Kelle Kabaselleh Yampanya, Pay Tex,
Kinanga Nzaou Boeing,
Dilu Dilumona, Doris Ebouya and the late 'Dancing' EMORO. This band,
like Zaiko Langa Langa,
is very popular because it is still largely based in Zaire rather than
in any Western capital. Pepe
Kalle himself is on record saying that he gets his inspiration from
his live audiences in Africa. The
band now boasts of another very good (but unknown in the West)
vocalist/composer, Jojo Ikomo
from the Kenyan section of the Zairoise Diaspora.
6. African All Stars that featured Sam Mangwana who once also sung
with Franco's TP OK Jazz.
7. Tabuley Rochereau and Afrisa International - Especially the hits of
the late 1960s, 1970s and mid
1980s. Once Tabuley and the famous Nicholas Kasanda (Dr Nico)
performed together as African
Fiesta. The late Dr Nico is rated in the same category as Tabuley and
Franco. Tabuley's popolarity
has waned somwhat since the departure of Mbilia Bel and his attempts
at 'Madiabafication' of his
music.
8. Luambo Luanzo Makiadi Franco & TP OK Jazz. All his entire
repartoire from the late 1950's to
his death in the late 1980's. Probably the most prolific composer
and the best known Zairean
musician.
9. Zaiko Langa Langa - and most offshoots except those that emigrated
to Paris which have become
bogged down in the African Morass in Europe. Nyoka Longo, Zangilu, J.P
Buse, Bimi Ombale,
Zamuangana, Bozi Boziana, Belobi Nge Ekerne, Bakunde Ilo Pablo, the
late Lengi Lenga, Dindo
Yogo (now caught up in the Paris vicious circle), Yvon Kabamba, Dju
Dju Mandjeku, Muaka
Bapius Mbeka etc. This band, especially under Nyoka Longo, has been
popular in Zaire and most
of East and Central Africa since the late 1970's. It is currently the
most popular, although some
people think that Alain Makaba's Wenge Musica and Koffi Olomide's
Quarter Latin as well as Papa
Wemba's Viva La Musica are strong challengers. However, none of these
other bands can claim the
longterm consistency of Nyoka Longo. In the West he is less well
known than either Olomide or
Wemba.
10. Grand Piza - featured Mbo Mayu, Makengo Roy and Aime. Disappeared
without trace in the
mid 1970's.
11. Baba Nationale and its offshoots - Mangelepa, Bwambe Bwambe, Bana
Ekanga, Pepe Lepe.
Baba Gastone Ilunga wa Ilunga formed Baba Nationale in the late
1950's (Barua Kwa Mpenzi
Gastone), then moved to Kenya where offshoots like the famous
Mangelepa, Bwambe Bwambe and
Pepelepe were formed by disenchanted members. Famous names included
Evani Kabila Kabanze
(very good vocalist/composer), Kalenga Nzaazi Vivi
(vocalist/composer), Tshimanga, BadiBanga
wa Tshilumba Kaikai 9vocalist/composer), Lutulu Kaniki Macky
(vocalist/composer), the late
Shoushou (Tchou Tchou), Jimmy Kanyinda, Aloni Vangu, Estazo wa Esta
(later joined Festival du
Zaire), the late Nana Akumu wa Kudu (led Pepe Lepe in Nairobi before
joining Franco in the hit
song `Mamou'),Mukala wa Mulumba Bebe, Zainabu, Pepe Mato, Yassa
Bijouley (now in
Mombasa, Kenya), Lisasi Ebale Mozindo, the late Tabu Nkotela Kiombwe
(died in Mombasa,
Kenya, while in police custody on a theft case), Kasongo wa Kanema,
(frequent in Japan), Zengele
Saida, John Ngereza (now leading the famous Les Wanyika in Nairobi),
Bosho Kayembe Nyonga
(now leading Festival Libaku in Nairobi), William Tambwe Lokassa,
Kasongo Fundi, Le Capitaine
Bwami Walumona, Kazadi Mbiya Saleh wa Bambu, Medico Bwala, Mukala
Kanyinda Coco,
Lukangika Maindusa Moustang, Lumwamga Mayombo Ambassedeur, etc.
Compositions of Orch
Mangelepa (unheard of since 1986) are still much sought after in East
Africa. If some of these
names have new numbers, the author knows several interested producers.
12. Festival Du Zaire - featured Nguashi Ntimbo (very good composer
and vocalist who also sung
with Franco's TP OK Jazz), Estazo wa Esta, Kadima, Zele Kabamba etc.
Ntimbo was also
associated with Orch. Sentima and Orch. Citoyen.
13. Bana Ngenge - Based in Nairobi in the mid 1970's and featured
Fataki Los Los Lokassa
Masumbuko ya Dunia, Jojo Ikomo (now with Empire Bakuba), Nsilu Bansilu
Manicho (on the
Japanese Circuit), the late Lawison Somana (produced Lady Issa at one
time), Ochudi, Mandala
Otis Musa, Zengele Saida, Beya Maduma, Roxy Tshimpaka (now with Zaiko
Langa Langa, formally
with Choc Stars).
The author is interested in getting in touch with the remnants of
this band wherever they are. Fataki
was so famous and loved in Kenya that some prominent sports
personalities were nick-named after
him. The same applied to Jojo and Manicho.
14. Bangambo Zigidia - of Koko Jeriko Zigo Mike who later joined Shama
Shama de Mopero
before moving to Kenya as part of Viva Makale, Kombe Kombe, Virunga
(of Samba Mapangala)
and currently leading his own Losako Musica in Nairobi. A very very
good vocalist and composer
but neglected by producers hence not financially sucessful as his
Paris-based mates. In recognition
of this fact, Prince Koko is requested to get in touch for a possible
recording deal.
15. Orch. Bassanga - led by the very good saxophonist and vocalist,
George Kalombo Mwanza.
Also had Jojo Ikomo (now with Empire Bakuba), Batchalinge Tabu Ogollah
(of Special Liwanza,
Boma Liwanza, Shika Shika, Les Jaca and now on the Japanese circuit),
William Tambwe Lokassa
and the Ethiopian Tamrat Tommy.
Who knows what happened to Kalombo? Where is Tambwe since he left
Orch. Virunga?
16. Orch Les Kinois - featured Samba Mapangala (now with Virunga), the
late Pele Ekwaki
Ondindia, Madjo Maduley Iliko Presto DjO (now in USA) Walengo Diabanza
Niki Djo, Kaba
Kaba Bibiley (now very successful in Nairobi with Malembe Stars or
Bana Motindo), Joseph
Okello Songa (later joined Super Mazembe), Kasule Mopepe, the late
Bedjo Dibuba Mikobi
Maumo), Musa Otis Mandala, Fataki Lokassa, Zengele Saida etc. Samba
Mapangala has
reportedly moved to the USA and should probably seek his old mate
Madjo to re-do some of their
old numbers with Les Kinois like `Kilindo', `Bawa', Mbepe',
`Mabouidi', `Anyango', Susan, etc. To
some, the Samba-Madjo-Pele combination produced more melodious and
memorable songs than
the more famous VIRUNGA which unfortunately lost its identity when it
used the Paris morass in the
studio instead of its own musicians like Koko Zigo, Fataki Lokassa,
Ntambwe etc. One wonders
why Samba preferred this arrangement.
17. Viva Makale - of Kalombo Mwanza George, Bwami Nalumona (Formerly
of Baba Nationale
and Mangelepa, now a `born-again' christian in Nairobi), Jimi
Monimambo (of Shika Shika fame,
now in Tanzania), Kasongo Kanema (ex-Baba Nationale, ex Bwambe Bwambe,
then joined Orch
Vundumuna and Ibeba Systems), Elliot Aduonga (ex-Somajeko), Sammy
Mansita (later joined
VIRUNGA and also Ibeba systems), Mwalimu Siama Matuzu-Ngidi Ntima
(also of Kombe Kombe
and Virunga), Le Muttu Vumbi Lava (Love) Machine (also of Kombe Kombe
& Virunga), Mukala
Coco, the late Tommy Lomboto Ahmed Brown, Tcherry Stone, Kabeya Elombe
etc. It would be a
releif to know where these great musicians are today.
18. Johny Bokelo Isenge of Conga De J. Bokelo, Conga Success, Conga
International and lastly
with Bonda Africa
19. Orch KIAM (Kiamwangana): A very popular group in the 1970's. Had
Mfui Mwane and Lele
Nsundi as key members. Could outsell even Zaiko Langa Langa today.
Who knows how and why
they broke up and stayed down?. Was it because Kiamwamgana's support
was so vital that when
Mobutu expelled him from Zaire, the band could not survive? The author
would like to get and keep
in touch with survivors.
20. Les Noirs - of Mukaputu Kalemby Kajos, the late Moreno Batamba,
Jojo Ikomo, William
Tambwe Lokassa, Mankwazi Duki Dieudos and Chuza Kabaselleh. What
happened to Kajos,
Duki and Chuza?
21. Somajeko International - Nairobi-based band with distinctive beat
but whose existence was
shortlived. Was composed of big names like Sammy Kasule, Festus
Adwonga, John Njaghe (what
happened to him) and others.
22. 9 stars Orchestra and Prof. Naaman. The Kenyan equivalent of Pepe
Kalle, the late 'Prof.'
Naaman had a very successful musical career with his 9 Stars
Orchestra. This was in addition to his
herbal medicine practice. The group's compositions were much sought
after but the band did not
survive the death of its founder and sponsor.
23. Orch MAS System - another very successful all kenyan show that was
based at Muungano Bar
in Eastleigh, Nairobi. With the deaths of some leading members and
the departure of others, the
band is now a pale shadow of its former self and is now reportedly
based in Kisumu, western
Kenya.
24. Super Mazembe (Bana Likasi) - Didos Longwa, the late Bukalos
Bukassa, Kasongo Songoley,
Atia Joe, Katele Aley, the late Lovy Longomba, Kasongo wa Kanema, Lobe
Roddy Mapako,
Samba Mapangala, Madjo Maduley, Kalombo Mwanza, Fataki Lokassa.
Popularity waned when
these stars left. Katele Aley penned most of the Mazembe hits
although few people know this and
he was less famous than the other members of the group. Nothing has
been heard of him in a long
time but Longwa has been seen in various kenyan towns in the recent
past with a Super Mazembe
band which has not had a successful hit in the last 10 years. It is
not even known if any recordings
have been made. Muntokole Longwa should let us know the situation
since they participated in the
recent opening of the 'City Cabanas' restaurant near the International
Airport in Nairobi.
Photo 4: Orch Les Wanyika - the most successful band in Kenya at the
moment
Unlike their Ugandan and Kenyan counterparts, Tanzanian musicians have
not been too carried
away by the Zairean influence and have largely maintained their unique
identity and their recordings
are well respected and much sought after. Thus, Afrosa (Afro 70) of
Stephen and Patrick Balisija,
Western Jazz (Segere Matata), Morogoro Jazz (Super Volcano) of the
late Mbaraka Mwinshehe
Mwaruka, Jamhuri Jazz (though was led by a Kenyan), Arusha Jazz (Simba
Wanyika) of the Peter
Kinyonga brothers (Wilson, George and William), NUTA Jazz (Wana Msondo
Ngoma) Mlimani
Park Orchestra (Wana Sikinde Ngoma ya Ukae), and Cuban Marimba (of the
late Juma Kilaza),
produced hits that every serious collector of African music should
have. The strong Tanzanian
identity is felt even in Zairean groups resident in Tanzania, like
Marquis du Zaire, Makassy and
Super Matimila (of Remmy Ongala Sura Mbaya). Even largely Tanzanian
shows in Kenya such as
Les Wanyika (off shoot of Simba wa Nyika) have retained much of the
Tanzanian style of strong
lyrics.
Other groups worth listening to include Orch. Shika Shika, Orch. Soso
Liso (Mario Matadidi
Mabele Bwana Kitoko), Orch. Super Tukina (Selly Ekelu and Samba
Mapangala), Orch.
Somejeko (John Njaghe, Festus Okonda, Sammy Kasule, Elia John - from
Simba Wanyika, Festus
Okonda, Elliot Aduon'ga), Orch. Tabou National, (Fataki Lokassa &
Bokake), Orch. Tout Mopia
(Chumu Lay Lay), Orch. Top Forum, Orch. Baya Baya, Orch. Boma Liwanza
of Mzee Shango
Lola, Kikuni Mbongo Pasi (Veckyz) and Jimmy Monimambo (now in Tanzania
but founder of the
famous SHIKA SHIKA of Nairobi in the 1980's, Orch Cavacha, Orch. Enafi
Likembe, Orch
Etumba na Gwaka (which first brought Dindo Yogo to attention), Orch Et
Son Ensemble (featured
Bakunde Ilo Pablo- later of Zaiko langa Langa), Orch, Les Ezazo, Orch.
Ibeba System (of
Kasongo, Kanema, Sammy Mansita, Elliot Aduonga, Siama Ntima, Diabanza
Niki Djo, Tony
Kalanzi, Lava Machine and Kasongo Fundi), Orch. Kombe Kombe (Koko
Zigo, Tcherry Stone,
Tommy Lomboto, Siama Ntima and Lava Machine), Orch. Les Pazo, Orch.
Lisanga (Beya
Maduma, Passy Djo, and Bisthou Manou), Orch. Mamaki, Orch. Mirage,
Orch. Mos Mos, Orch.
Moja One (Moreno and Koko Zigo), Orch. Mpete wa Mpete (Higha Fives).
Each of these named bands and musicians had a distinctive touch and
could easily be recognized
even without reading the record label. Many of their songs are still
sought after, unlike those Kanda
Bongoman, Arlus Mabele, Koffi Olomide, Geo Bilongo and other
African-Parisians which sound
good only as long as they are on radio but which individual buyers do
not listen to very often except
in bars.
Something else of significance is that even though recording
facilities are reputed to be much better
these days, the real surround/stereo/live effect is only found in
early recordings such as those done
by Kimwangana Mateta's mobile recording studios that sponsored and
brought to fame most of the
cited Zairean bands. Certainly, Kimwangana (who also led his own
band, Orch. Veve), was a very
well known and good sounding vocalist/composer. However, he found it
necessary to record and
sponsor most other unknown groups who later rose to prominence. Since
his departure from the
recording scene, African producers now tend to be business men, rather
than musicians, killing off
most promising talent. Kianmwanjana is reputed to have been the
sponsor of groups like Orch.
Lipua Lipua, Orch. Kiam, Orch. Shama Shama, Orch. Les Kamale, Orch.
Bella Bella, Empire
Bakuba and many others including Zaiko Langa Langa.
The author of this article, Muttu Mondiya Mama is a lover and
collector of African Music. He
welcomes comments and additions/corrections on East and Central Africa
music and musicians with
a view to writing an authoritative and accurate account. He can be
contacted at the following
addresses:
1. P O Box 868
BUNGOMA, Kenya
2. P O Box 6300
NAIROBI, Kenya
3. C/o This web page:
http://www.biols.susx.ac.uk/Home/Julian_Thorpe/sax15.htm
Tpokjazz
Great posting Rufus. A provocative and informative article....and nice to have
some views on Congolese/East African music which emphasise the long history of
this music.
I think Muttu is a little hard on Paris based musicians: Olimade for one has
produced some great stuff, but I can't help but sympathising with his view that
we are not getting the same variety of musical expression, as in the days when
most of the prominent bands were Kinshasa/Nairobi based.
In terms of the history he recounts, one detail confused me a little: I am a
huge fan of Verckys and Orchestre Veve. In my book they are amongst the great
stars of the '70s who produced a series of albums which I for one never tire of
listening too. And I was also aware that "Veve productions" sponsored a number
of other bands including Bella-Bella and Lipua-Lipua. So I was a little
surprised that Kimwangana Mateta was described as the leader of Veve, with
emphasis on the recording of other bands, and that Verkys (Kikuni Mbongo Pasi)
given only a passing mention with no link to Veve. Perhaps some can illuminate
me on the relationship between these two musicians and the orchestra, and on
the members of the band and what they subsequently did after Veve stopped
playing to together.
Alistair Milne
East Dulwich
South East London
